Aspects of moral education in Bhaca mamtiseni and nkciyo initiation rituals PN MAKAULA1AND K LUMBWE2 Abstract Influences on cultural, social, economic and political life of the Bhaca as well as their Interaction with other cultures from within South Africa and other parts of the world have led to the erosion of older traditions and customs resulting in a replacement of values that have promoted immorality, crime and an increase in sexually transmitted diseases among others. Consequently, these forces have resulted in change in the structure of mamtiseni and nkciyo female initiation ceremonies, thereby influencing the musical arts embedded in them. This article examines the educational content of the songs and dances and the role these musical arts play within mamtiseni and nkciyo celebrations expressed by the Bhaca of the Eastern Cape Province of South Africa. The article reveals that despite the influences on mamtiseni and nkciyo female initiation ceremonies it is evident that certain elements have continued to a large extent as they used to be in the pre-colonial times, while others have undergone change to suit the current lifestyle of the people in South Africa. The songs have undergone changes especially in their texts, which have shifted focus from menstruation and marriage to include topical issues of a social nature and wellbeing, and as such the repertoire reduced. Keywords. Bhaca, mamtiseni and nkciyo, initiation ceremonies, women and girls, psycho- social, cultural and spiritual aspects, song texts Introduction The Bhaca people from South Africa’s Eastern Province have been faced with various influences in their cultural, social, economic and political life: colonisation, conversion to Christianity, Western education and technological advancement, among others, The impact of these forces has resulted in the erosion of older values, traditions and customs, replacing them with values that have promoted immorality, crime and an increase in sexually transmitted diseases (especially HIV/AIDS). Despite this impact on Bhaca culture and lifestyle, Bhaca women and girls have created their own revival customs related to girls’ initiation through the revival of mamtiseni and nkciyo ceremonies. This study examines the educational content of the Bhaca mamtiseni and nkciyo initiation ceremonies which are 1 Mr Makaula completed a MMus at North-West University, Potchefstroom campus in the Musical Arts in South Africa: Resources and Applications niche entity. He is currently a music teacher at the Magnet School of Music, Buhlebuzile Secondary School. [email protected] 2 Dr Lumbwe is a post-doctoral fellow of the niche entity Musical Arts in South Africa: Resources and Applications at North-West University, Potchefstroom campus. He completed his PhD at the University of Cape Town in 2009. TD The Journal for Transdisciplinary Research in Southern Africa, Special edition, 10(2) November 2014, pp. 166-179. Moral education in Bhaca mamtiseni and nkciyo initiation rituals transmitted through song, dance and drama. The song texts are used as tools for communication, as they form a crucial part of Bhaca cultural and oral traditional methods of transmitting indigenous knowledge. Education entails total human learning by which knowledge is imparted through a process in which a “society reproduces itself [by] passing on its main characteristics to the next generation” (Farrant 1991:18–19). Mamtiseni and nkciyo initiation ceremonies are organised for girls of ages ranging from 6 to 18, and they are performed separately at different times of the year. The Bhaca believe that children’s incorporation into their society is highly dependent on and achieved through initiation schools. Furthermore, the study by Hammond-Tooke on Bhaca girls’ initiation indicates that initiation is a rite of passage that enables a person to move from one stage of life to another. Traditionally among the Bhaca this transition meant preparation of the girl for marriage, an indication to the society that she has become a woman and an adult member of the community (Hammond-Tooke 1958:20). However, discussions with Metu (2014) reveal that initiation currently implies the movement from girlhood to womanhood, and that such a change needs to be recognised by the community. The emphasis on the transition from girlhood to womanhood has occurred because girls no longer go straight into marriage after passing through the rite of passage, since they still have to attend primary and tertiary education before they could be considered ready for marriage. According to Nozibele (2010), the Bhaca believe that customary education must be taught through undalashe and isintu (the old ways and the values of ubuntu). In fact, Bhaca girls who have gone through initiation concur with Nozibele and believe that all girls should go through the ceremonies and that one who does not might become thin and sickly. In his studies among the Venda and other ethnic groups in South Africa, Blacking (1982) indicates that initiation schools serve similar purposes and that they are educational institutions in which culturally important information is transmitted through music and dance. Blacking continues that domba, the initiation for Venda girls, is particularly well known for the large body of information it conveys on aspects of psycho-social, cultural and spiritual aspects of adulthood. Indeed the same could be said for the Bhaca mamtiseni and nkciyo initiation ceremonies in which musicis the main tool for communicating and imparting moral, social, cultural, spiritual and political education. Furthermore, music and dance are viewed among the Bhaca as a means for social and personal development, through communal participation, as they are the activities inherent in the initiation ceremonies in which music is performed to foster physical development, health and wellbeing. Details of these ceremonies will be discussed later in this article. We investigate the specific role of music in the mamtiseni and nkciyo initiation ceremonies. Special attention is given to the type and meaning of song texts used, as well as the reasons why they are used in particular ways. We also aim to show that song texts play an integral role as initiation school instructions, and that their utilisation in this context is intended to perpetuate cultural and religious values to ensure the continuity and survival of cultural traditions. The focus here is on the way in which song texts are used to announce, initiate and demarcate the different components of the mamtiseni and nkciyo initiation ceremonies over a period of time. As such, music acts in a special way to signify, validate and incorporate the elements of the initiation ceremonies into the Bhaca worldview. This article is a descriptive analysis of Bhaca mamtiseni and nkciyo female initiation ceremonies and the role played by music in them. In terms of theoretical perspectives, what emerges from the study is that education in Bhaca initiation ceremonies hinges, on the one TD, Special edition, 10(2), November 2014, pp. 166-179. 167 Makaula and Lumbwe hand, on physical development and health (specifically in relation to menstruation), and on the other hand, on moral and spiritual wellbeing. Furthermore, the Bhaca “learn new life styles from experiencing day-to-day life as individuals, families, communities, etc., which could be conscious or unconscious learning” (Reeler 2007:10–13). Learning of new lifestyles among the Bhaca has led to the formation of new ways of doing things and the formation of new identities. These new lifestyles have affected the performance of mamtiseni and nkciyo ceremonies to such an extent that some elements have changed, while others have continued to be practised in the traditional way. That is why in this study we identify the features of change in the music. Data for this article include material gathered primarily between 2010 and 2013, during which time we conducted interviews with various research participants, in particular Bhaca midwives, mamtiseni and nkciyo initiates, and adults who attended initiation ceremonies in various towns and cities in the Eastern Cape. However, the analysis of mamtiseni and nkciyo music and dances in this article is mainly based on 5 mamtiseni and nkciyo female ceremonies and 20 recordings of songs and dances in which the data permit direct exploration of the role of musical arts in the ceremonies as well as the relative impact on them of colonisation, Christianisation, Western education and globalisation. For our analysis we used the audio and video recordings of songs, some of which we made from the mamtiseni and nkciyo female initiation ceremonies recorded for us by our research assistants in the Eastern Cape during the period 2010 to 2013. Figure 1: Map of Eastern Cape locating the Bhaca 168 Moral education in Bhaca mamtiseni and nkciyo initiation rituals Key: Mhlotsheni 11. Xameni (apho kukho iTsewu) Lutshikini 12. Sihlahleni Lutateni 13. Cabazi Mpoza 14. Mpendle Siqhingeni 15. Lubhacweni Ntsimangweni 16. Mvuzi Colana 17. Lugangeni Nkungwini 18. Mtshazi Mgungundlovu 19. Tshungwana (Osborn) Ngqumane 20. Nomkholokotho Before proceeding it is necessary to describe briefly the historical background of the Bhaca people and their location in South Africa. The Bhaca originate from an area along the northern part of the Pongola River, near the Libombo Hills. This is the area on the present border between Mpumalanga and Swaziland (KwaBhaca Kingdom, 2010). Hammond- Tooke (1958:16) points out that in the 1700s the Bhaca were part of Zululand. However, their present location in South Africa is the Eastern Cape Province, more precisely in the following towns: Mount Frere, Mount Ayliff, Matatiele, Mount Fletcher, Mzimkhulu and Kokstad. The migration from the Libombo Hills to the Eastern Cape resulted in a cultural and linguistic mix as the Bhaca interacted and intermarried with the people they encountered in the new areas of settlement. The Bhaca speak a language known as IsiBhaca, which is a mixture of IsiZulu, IsiXhosa and SiSwati. The following map of the Eastern Cape shows the present location of the Bhaca in South Africa.